In the only one of Johann Schein's religious works to be reissued as long as twenty-two years after his death, Fontana D'Israel (Fountain of Israel) is still regarded as his most exceptional artistic achievement. This Israelsbrünnlein contains twenty-six vocal compositions, which, as Schein writes, "can be comfortably played on their own with lively voice and instruments, and also on the organ/harpsichord" and to which he had added a figured bass, admittedly dispensable in most cases.

MusicWeb Internationalthe singing of the Rheinische Kantorei leaves nothing to be desired. Hermann Max's aim has always been a great transparency and a clear delivery, and these are vital features here. There is also a kind of intimacy here which reduces the difference with one-voice-per-part.

MusicWeb InternationalThe music of Schein ought to be better known: he and his contemporaries Scheidt and Demantius tend to be unjustly overshadowed by Schütz. Israels Brünnlein is a collection of biblical Krafft-sprüchlein, translated by Capriccio as edifying texts, but more literally, powerful texts, composed in the manner of Italian madrigals, thus combining the Lutheran insistence on the primacy of the Bible with the appeal of Italian cultural developments which became such a strong influence on North European composers.

The Capriccio recording is complete where rival versions offer[ed] only selections... I shall turn to the Capriccio for completeness...